168 IN BRIGHTEST AFRICA 
and the other to move it horizontally, the operator by 
means of a single control secures a steady movement 
which may be vertical, horizontal, or diagonal, and 
which enables him to keep a moving object always in 
the centre of the field. This flexibility especially 
adapts the camera not only for wild animal photog- 
raphy, but also for studio work, where an erratic 
follow-up is to be accomplished, and for news reel 
photography. It was this advantage, combined with 
another special qualification, the freer use of the 
telephoto lens—which brings a distant object into 
the foreground on the screen—which made possible 
a successful picture of the Man-o’-War race and the 
Dempsey-Carpentier prize fight. Anthropologists 
have found the telephoto lens useful in making motion 
pictures of natives of uncivilized countries without 
their knowledge. Because of the difficulty of secur- 
ing the proper lighting in the woods, I had paid 
particular attention to the shutter so that as perfected 
the shutter admits thirty per cent. more light than 
the usual camera shutter. This characteristic also 
has commended the camera to general use. In out- 
of-door photogr#phy on a dark day as well as in the 
studio, where the lighting is one of the greatest items 
of expense, its advantage is obvious. Tom Mix and 
Douglas Fairbanks are both making extensive use 
of the camera now and a recent feature directed by 
Lawrence Trimble was made with it. 
I was working on the camera, modelling a little and 
mounting the elephant group, when the war came on 
us. That meant a call for every man’s energy and 
